Established on three different continents, the Ottoman Empire demonstrated unquestioned political success and constituted the representation of orientalism for the West. Both her geographical position and her cultural identity as an Eastern and a Muslim provided the structure to approach the Ottoman Empire representing the Eastern identity as constructed by the West. Hence, a stereotypical representation of Turks created in order to satisfy the oriental approach of the West. This perspective can be observed in British sources as well. Beyond her exotic qualities for the West, the rival position of the Ottoman Empire against the British Empire provoked further interest in British names. As is common in oriental texts, British sources also reshaped the Turkish identity unconsciously to fit the text's stereotypical perspective. In addition to the fixed image of Turks and the Ottoman Empire that is depicted underlining Westernized qualities, British written sources do not hesitate to reinterpret the constructed image of Turks as a medium for their own ideologies. In this regard, tracing the British sources and their representation establishes a problematic depiction of the Ottoman Empire and the Turks that is dominated by Western ideology. Moreover, it can be further argued that the literary works also both fed upon and contributed to the stereotypical depiction of Turks as an exotic eastern. Travel writing of the time also maintained the perception of Turkish identity representing the constructed understanding of the West regarding the East. Consequently, this study aims at tracing the stereotypical image of Turks as depicted in British sources especially with emphasis of sources dating to the 19th century as the highlight of Orientalism in British Empire. Hence, the misinterpretation of the Ottoman Empire and Turks will be laid out in a chronological order underlining their common perspective.

Gerek politik gerekse hukuki ve insani açılardan günümüzün en önemli problemleri arasında gösterilse de göç olgusu aslında insanlık tarihi kadar eski bir mevzudur. Tarih öncesinden günümüze tüm toplumlarda gözlemlenen göç olgusu Uluslararası Göç Örgütü tarafından şu şekilde tanımlanır:Uluslararası bir sınırı geçerek veya bir Devlet içinde yer değiştirmek. Süresi, yapısı ve nedeni ne olursa olsun insanların yer değiştirdiği nüfus hareketleridir. Buna, mülteciler, yerinden edilmiş kişiler, yerinden çıkarılmış kişiler ve ekonomik göçmenler dâhildir. (2009: 22) bilig

Hence, what is treated in the play in microcosmic level is, in fact, a reection of politics in a macrocosmic, global, level. In the play, it is the system that is being criticized regardless of its local representation. Rather than targeting a political party or a political view, Arden points out that it is always a gure of authority that is blamed for the system and overthrown. In this regard, the play illustrates the arguments put Makale Bilgisi

On the British stage, political theatre, which emerged in the twentieth century, has been linked with the problems of the working class as initiated in the 1920s until the early 1960s. With the end of the official censorship of theatre in 1968, political theatre in Britain experienced a period in which socialist works marked the stage. Nevertheless, the 1990s challenged the association of political theatre with the conditions of the working class. Considering the current political and social events in Britain and around the world, it is appropriate to underline that political theatre is not only in a constant flux, but its definition has been once again challenged. In this regard, Brexit can be considered as one of the most significant movements to influence the understanding of political theatre in the twenty-first century. Consequently, this study aims to analyse Brexit Shorts: Dramas from a Divided Nation (2017), a co-production by the Guardian and Headlong Theatre Company and discuss their contribution to the changing definition of political theatre. Brexit Shorts will be further explored regarding their influence on the popularity of monologues as a mode of performance.

George Bernard Shaw, who introduced social realism to the British stage, is considered to be the most significant playwright of the Victorian era. In his plays, he challenged the typical Victorian representation of female characters and introduced a new woman type who stands as a powerful and independent figure. Shaw's female characters can be analysed in line with the suffragette movement, the fight given by British women to gain their right to vote. In this regard, Shaw's play Mrs Warren's Profession exemplifies a female character who can be considered as an advocate for female liberation and power. On the other hand, his play Press Cuttings, which was specifically written to support the suffragette movement, neither exemplifies the new woman image presented by Shaw in his plays nor contributes to the suffragette movement. Hence, this study aims to discuss the theme of the rights of women and to focus on George Bernard Shaw's Mrs Warren's Profession and Press Cuttings by means of Shaw's involvement in and support for the suffragette movement from the Victorian to the Edwardian era.